The Shape of Water

The Empire Podcast

19/09/19

Cameo Cinema, Edinburgh

Can we review a podcast? Well, we reviewed No Such Thing As a Fish, didn’t we? And, nobody complained about that. Besides, me and Empire, we have some history…

The first issue of Empire came out in July 1989 and I purchased a copy. It wasn’t a particularly auspicious month to launch a movie magazine. The featured film was, if memory serves correctly, Great Balls of Fire starring Dennis Quaid and Winona Ryder. This isn’t a film that lingers long in the memory, nor one that’s likely to feature in The Criterion Collection, but nonetheless, I liked what I read in the magazine and, being the absolute obsessive that I am, I’ve purchased every single copy published since then. I’ve been reading it for more than thirty years, Indeed, anyone who possesses a copy of  issue 100 will find a picture of yours truly, grinning like an idiot, dressed in my grey Empire T-shirt (which I still own) and proudly showing off my collection of one hundred pristine magazines.

Somewhere back down the years (probably around the time when a copy started taking a bit less than three hours to download), I switched to a digital edition and I now read Empire from cover-to-cover on my iPad. The podcast, a relatively recent development, is something I listen to on my daily visits to the gym. Consequently, I know things about these people. I know, for instance, that Chris Hewitt’s greatest shame is giving a 5 star review to Attack of the Clones

So imagine my delight when I hear that the regular team of Chris (resident clown-prince), Helen O’ Hara (resident sage), James Dyer (resident grumpy-git) and Terri White (resident snappy dresser and editor-in-chief) are coming to Edinburgh – and, moreover, that they will be hosting their podcast at our beloved Cameo Cinema, less than a ten minute stroll from Caveney-Singfield Towers. Are we going to buy tickets? Are bears Catholics? Does the pope shit in the woods?

And sure enough, here we are. The Cameo is completely sold out, Chris is performing his rendition of Call Me By Your Name (as requested by yours truly via Twitter) and Scottish actor Jack Lowden is explaining why his greatest ambition is to play a character a foot shorter than his actual height. I even get to ask the team a question (“Which film would you nominate as the biggest ‘Emperor’s New Clothes’ contender of recent years?”). Chris goes for Suspiria (agreed!), Terri chooses Once Upon a Time in Hollywood (agreed!), Helen opts for La La Land (Susan definitely agrees!) and James chooses… The Shape of Water (really don’t agree, but I did warn you he can be a curmudgeon).

Afterwards, there’s time to score a Bangily Bang! T-shirt and get a photograph with the team in the bar. And I reflect that podcasts really are weird things because, when you hear those familiar voices over and over, you start to feel that you are friends with these people, that you know them intimately – and, of course you don’t, and surely never will.

But I enjoyed their visit to Edinburgh and I’m already looking forward to getting on the old crosstrainer and listening back to that recording…

4.5 stars

Philip Caveney

 

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Film Bouquets 2018

Bouquets&Brickbats

Bouquets&Brickbats

Bouquets&Brickbats

2018 has yielded a lot of interesting films, and it’s been hard to choose which most deserve Bouquets. Still, we’ve managed it, and here – in order of viewing – are those that made the cut.

Downsizing

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Alexander Payne’s brilliant satire had its detractors, mostly people who had expected a knockabout comedy –  but we thought it was perfectly judged and beautifully played by Matt Damon and Hong Chau.

Coco

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A dazzling, inventive and sometimes surreal love letter to Mexico, this Pixar animation got everything absolutely right, from the stunning artwork to the vibrant musical score. In a word, ravishing.

The Shape of Water

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Guillermo del Toro’s spellbinding fantasy chronicled the most unlikely love affair possible with great aplomb. Endlessly stylish, bursting with creativity, it also featured a wonderful performance from Sally Hawkins.

Lady Bird

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This semi-autobiographical story featured Saoirse Ronan as a self-centred teenager, endlessly at war with her harassed mother (Laurie Metcalfe). Scathingly funny but at times heart-rending, this was an assured directorial debut from Greta Gerwig.

I, Tonya

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Imagine Good Fellas on ice skates and you’ll just about have the measure of this stunning biopic of ice skater Tonya Harding, built around an incandescent performance from Margot Robbie, and featuring a soundtrack to die for.

A Quiet Place

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This film had audiences around the world too self-conscious to unwrap a sweet or slurp their cola. Written and directed by John Kransinski and starring Emily Blunt, it was one of the most original horror films in a very long time – and we loved it.

The Breadwinner

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Set in Kabul, this stunning film offered a totally different approach to animation, and a heart-wrenching tale of a young woman’s fight for survival in a war-torn society. To say that it was gripping would be something of an understatement.

American Animals

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Based on a true story and skilfully intercutting actors with real life protagonists, Bart Layton’s film was a little masterpiece that gleefully played with the audience’s point of view to create something rather unique.

Bad Times at the El Royale

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Drew Goddard’s noir tale brought together a brilliant cast in a unique location, and promptly set about pulling the rug from under our feet, again and again. There was a superb Motown soundtrack and a career making performance from Cynthia Erivo.

Wildlife

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Based on a Richard Ford novel, this subtle but powerful slow-burner was the directorial debut of Paul Dano and featured superb performances from Carey Mulligan, Jake Gyllenhaal and newcomer, Ed Oxenbould.

The Ballad of Buster Scruggs

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The Coen brothers were in exquisite form with this beautifully styled Western, which featured six separate tales of doom and despair, enlivened by a shot of dark humour. But, not for the first (or the last) time, we heard those dreaded words ‘straight to Netflix.’

Roma

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Another Netflix Original (and one that’s hotly tipped for the Oscars), this was Alfonso Cuaron’s lovingly crafted semi-autobiographical tale off his childhood in Mexico, and of the nanny who looked after him and his siblings. It was absolutely extraordinary.

Philip Caveney & Susan Singfield

The Shape of Water

30/01/18

The release of a Guillermo del Toro movie is generally a cause for some excitement, but The Shape of Water arrives in the UK already garlanded with 13 Oscar nominations – this year’s most nominated film. It’s an unusual state of affairs because fantasy movies rarely get much of a look in at the Academy Awards, apart from the occasional grudging nod for special effects and cinematography. It doesn’t take long, however, to appreciate how this film has managed to garner so much acclaim. It’s a gorgeous, multi-faceted allegory that isn’t adverse to taking risks – The Creature From the Black Lagoon dancing in a Busby Berkeley routine? Hey, no problem!

To my mind, there are actually two del Toros out there – the one that creates eerie fairytale fantasies like Pan’s Labyrinth and The Devil’s Backbone, and the one that offers us the likes of Pacific Rim, where giant robots punch colossal lizards repeatedly in the head until (eventually) they die. Take a wild guess as to which del Toro I personally favour! I’m glad to report that The Shape of Water falls squarely into the former category.

We’re in Baltimore in 1962 at the height of the Cold War. Elisa (Sally Hawkins), a reclusive mute woman, works as a cleaner in a high security government laboratory, alongside her supportive friend, Zelda (Octavia Spencer). When a mysterious new life form – simply referred to as ‘The Asset’, arrives for safekeeping – it is accompanied by its keeper, Richard Strickland (Michael Shannon, excelling in what must be his most repellant role to date). It turns out that the lab’s new addition is some kind of amphibious man, captured in the jungles of South America, where he is worshipped as a god – and it soon becomes clear that Strickland’s job is less to find out about this new acquisition than to make sure the Russians never do. Resident scientist, Dr Hoffstetler (Michael Stuhlbarg), is interested in studying the creature, but the American military seems determined to view it as a suitable candidate for vivisection. Meanwhile, Elisa is beginning to establish a strange and deepening friendship with it…

The outline of the story itself may sound vaguely ridiculous, but it simply cannot prepare you for how utterly compelling del Toro’s film is. It’s a multi-layered affair, beautifully shot and cleverly scripted. Elisa is an outcast, watching from the edges of society, and her best friend Giles (Richard Jenkins), a graphic designer, is in a similar position, exiled from his regular place of work because he is secretly gay. The claustrophobic atmosphere of the early sixties is brilliantly conveyed. All-American diners seem friendly as they sell their day-glo green pies, but won’t allow black people to eat alongside their white customers. The old-fashioned cinema above which Elisa and Giles live plays to nearly empty houses every night because of the growing power of television, and yet every TV screen we see displays a series of classic movie comedies and sumptuous musicals. The Asset too is an outcast, a creature that doesn’t belong in this blinkered, paranoid world. Little wonder then, that both Elisa and Giles fall under his spell.

I cannot recommend this film highly enough. Every frame of it bursts with creativity, the performances are exemplary (special mentions should go to Hawkins – who manages to convey so much without the luxury of words, and to del Toro regular, Doug Jones – who makes us care deeply about his scaly bug-eyed character and about what will ultimately happen to him).

I appreciate that not everybody is going to love this as much as I do. It requires an almost total suspension of disbelief; this is in no way a realistic film. It’s a fantasy that deals in archetypes, a contemporary reworking of a tale that could have bled from the pens of the Brothers Grimm, juxtaposing scenes of beguiling sweetness with ones of graphic violence. I watch it spellbound. I had thought that del Toro couldn’t possibly improve on Pan’s Labyrinth, but you know what? I rather think he has.

5 stars

Philip Caveney